New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-12-16
ILLUSTRATED BOOKS.
FRENCH PAINTING; AND GERMAN phA

YMx: Cassell Il Co, 1851
NJ, J. w B,utun has inpOited 10" COPIES vi
.Thc Salon Of Paris," sup'Tb voluinT' i!i"S ratct
T., ,n. hundred photocra nrcs after paintings in
Tho I.ss salon togo her with vIcnettes in tie text
and head aud tai ojeces. This volume Is alto
gethor different affair from the illustrated Salon
catoioouos be purpose bis been t. present those
pic,mcs o. the frs art exhibition ofthe year which
hes! represent distinctive sch and tendencies,
and this eli NINA ion o. details results II n ready
and synoathetic comprehension OF the general
movements IN modern art. We have before MS the
work Of academic painters like Bougnorcau, c"ssi-
cIsts ike Flaming and Le ROuX and historical
nainters ike Laurens. together with examples or
the mead OF decorative school. Puvs dc Chavannes'
of Aubort of the lighter ldealsts OF coiorists
like ilenuer and Constant, of Breton ana MS loI-
lowers in the painting of peasant me- OF ie'iou'h
and other y inters of fashionable genre OF iaHd-
sea pc artists ike Pclouse Of marine paln'ers INC
Mes,sas, and variety # painters of genre por-
traits and the nude, nIturalists anu rea'lss
painters vino oxcmplify artistic truth L" Nature
aud ot hers who seem to see, truth ~ Nature for
the sake of the morbid and the ugly. In the paint
iugs and sculpture reproduced for this volume thc
dude Is represented IN about the usual proportions
bnt the observer will note as more sirnlhcant the
increasing number of subjects taken from the life
of which tle artists are part Gervcx. VINO mas
seemed iii posed TO becom- apostle OF IolaiStlc
naturalisin, is not repreSeutcd. but Brouihels
Clinical Lesson" is IN a somewhat similar veIn
and there is a painful picture of poor mother
abandoning her child to the care of an asylum.
The paintings of scenes laboratories. hospitals,
schools courts and barracks Indicate an active IN
terest IN real 1te which is not without PROMISE
although Iis manifestations are so'ie'i'"e' h'i
biddlag.
Wengte among Their phot0gravureS two American
pictuIes-Nr Cart Melchers's "in IioIland' now at
the American Art Galleries. and Mr.. George hitc1-
cocks HOLLAND Tulip Garden" few paintings
like Bourucicau's Love he Condueror,' AunertS
Tie Guards Of Loves" and BretoAS End u
Work have cone to rms country since the c'"Sc"'
the salon. The selections for this vciume nave
been made with Intelligence and good taste ana
the ACCOMPANYING discussion Of the salient features
o. current art by y. Gustave ollendoIf &c thought-
ful arl suggestive and like the ILLUSTRATORS OF
permanent value. The admirable results attained
hv In. t;ouph phot04raYare process aie - Vel
known tn,f we ncci Only note the proseuc- Ia tins
volume of plates v hich seem 20 Us among the pest
OF the KIND The extraordinary correctness ana
dclIca..v Of manipulation illustrate in the" plates
leaves little n be desired rhey are printed IN
tinted inks Tho entire edition as pubhshef III
Par,IS limited to 80 copies. 1ho Letter press al
the Holland paper edition rs printed upon heavy
Holland paper M handsome. clear type: the cages
are nncu- and The binding il in crimson cloth, with
a side ornamcnted in colorS and gold. There Is an
index 20 the painters and sculptors who arc men
Toned. aud table is added aIvlng the awards at
the salon of 1887
Tor the second volume Of the "lntcrnational
Shakespeare Series the choice o. the publishers
has fallen upon one Of the Laucasslan group of
plays, which demands OF the ilinstfttr
talent sufficiently versatile 20 de!ineate
the intensely dramatic and the erotesduey
humorous the noble and palmetto. the
airs of swashbuckers and the buff 'n'ry of
malt-vornls To fulfil these varied requirements
a Cerrnaa artist, Herr Edward GIjtzner has been
selected lie las performed with remarkable dis
cretion force and power Of svmpa! hetic apDrehen-
sion task proved by many failures to be diff
cult one 10 portion OF onr OWL Dubh@ Herr
Crf .zner Is known as painter Of humorous genre,
aud particularly a. Al amiable sdtlrist OF n"nas'lc
devotion to the cellar aud refectory II is natural.
therefore that he should portray with especial
relish the figures If Falstaf aud his crow OF tap
st,rs and cerks Of 81. Nicholas, bat Herr GIliz-
ncr's training and professional career nave a 50
fitted HIM for more serious work. HE schooI az
Pilotv IN its best estate was very much IN ear
not and its mental "a well a. ITS manual training
wa, Of value despite the dangers o. the grand man
II.
least "a clear understanding Of the Importance OF
line and form. His drawing is well considered
and usually accurate. If the influence of the TIM
gid academic style had been permanent. Heir
Critzncr might have provided rs with l.ns'ra-
tons OF Shakes carc which would have been con
t,nnation OF the barren eraudI0se designs executed
n century ago for the Boydcll Shakespeare by
West. Opie Northcotc FusclI and others OF the
old Eng al historical school. Fortunately he has
not illustrated Shakespeare in the academic man
Although Herr Grirzners later work has con
cerned Itself principally with monasic aad HINT
ing scenes, he was painter of Shakespeare nearly
twenty years ago. HIS "Falstaf" painted III 1868
WIS followed by subjects taken from " KS You Like
II" and "The Merry Wives of Windsor" IN tnese
illustrations OF Falstah at the tavern. reclining IN
drunken slumbcIs or asking what money Is III
my purse T. the artist has dealt aporccia'vely WIN
n familiar theme. IL is of greater interest To note
the dignity. simplicity and truthfu'ncss With
which tins German genre painter has treated
his nobier figures. He has not. for example, forced
the pathos of the scene of tender reconciliation
and OF part!ng between the sad King and ms son.
His figures illustrate healthy natnTalSu In
his stronger situations like the Kings demand
upon IN. fiery IIotspur for his prisoners and the
rising quarrel over the map between Ilot'pur and
the lnpeiuous GlendOwer, the artist has attained
genuine dramatic effect without narring hls scenes
by violent pOsturng aud frantic gcstIculation
This is another point worth noting, since. from the
Boydell Gallery down. il has been difficult mat
ter for the illustrators of Shakespeare 10 repre-
sent intense emotion without a resort TO exagger-
a1ed beroIcs. Even so great master as Delacrox
traves;ied action III his photographic lin rations
of "ilamlet." That he completely italicized
the play will not seem strange to any one familiar
with French misconceptions Of Shakespeare. Herr
GIii'zucr. however has shared the intelligent
enthusiasm of his countrymen regarding shake
spearc 'lie has assimIlalei his material ana pro
duccd for us figures winch are those OF men ana
mn Tho lrt-